When the imagery in dreams turns to the romantic, and seems to be leading to intimate relations between two people, it is easy to want to relate that to our outer life. But from an inner perspective, it is one aspect of our inner selves wooing another aspect. And we can see that it’s an unfolding process: in dreams, as in waking life, things don’t happen all at once. Things need to feel a certain safety before strong connections can be made, and that safety can only be proven and established over time. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: In the first dream, I’m living in a house and it’s evening. It’s kind of a nice house. It’s like a brownstone-type house, with brown wood, and even has a room with a library and all this.

A man has come by that is someone I’ve known as very kind of charismatic man and, at some point, he kisses me and then he wants to make love. But in the outer last night, I had felt like I needed a shower before I went to bed, and that just showed up in the dream. I felt like I needed a shower before I could make love.

So I kind of pulled back, and we go into the bathroom, and I pull across the shower curtain to take a shower and, for some reason, the bathtub’s in two pieces, and my grandmother, my father’s mother, is in there trying to do something with one of the halves of the bath, trying to I guess fix the situation with the shower.

And I get some water on me, and he and I suddenly seem to both be in bathrobes, so I feel a little cleaner, but obviously I can’t take a full shower because the situation with the bathtub hasn’t been fixed yet, because it was a shower that went into a bathtub, and the bathtub’s cut in half.

So I go out suddenly to the front door and he’s fumbling around, too, because he has a bathrobe on now he’s fumbling around to put on some shoes, and some clothes, and it feels like he has to get back to his home. And I’m standing in the doorway watching him do this, and he seems to be talking about something with modern people, and running around, and having children, and his concern about things that are going on like that in the outer.

And I’m standing in the doorway just kind of bemused, actually. It’s not like I’m suddenly feeling any lack that he’s leaving. I can’t decide whether maybe I should go with him. I don’t think I’m going to. I’m kind of in this just really neutral space, a little bit bemused even, amused about something. Listening to him, and it feels like I’m in kind of a listening state right at that moment, just standing there in the doorway. That’s that first dream.

John: Well, it seems like the first dream is a dream in which you’re holding onto something that’s able to open up, but something isn’t quite right in terms of timing.

And yet, at the same time, you’re able to be relaxed with that, you’re able to go along with that, because you know the worth, or the value, of something. In other words, why would you be bemused?

In other words, you have a sense that all is okay, even though something hasn’t come together in a complete way, or a flow way. You know that everything is fine as it is, so it’s almost as if the formula upon which something is to unfold hasn’t been found.

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Even in this day and age, the image of being chased by a prince through his castle in a dream seems to have a romance to it. Yet that is how the dreamer is managing a situation that is overwhelming to her on an inner level. And things only get worse when she succeeds in getting away. Yet what is happening is an escape from the higher back into the lower, because the higher is always challenging to the status quo. Ultimately, the dreamer knows she needs to go back. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: In my first dream, which takes place mostly at night, I’ve gone into a building that’s almost like a small castle. And at first I’m observing the people there. There’s like a man that’s like a prince that seems to be in charge. There’s a woman that he’s with at some points, and I seem to be looking through the rooms.

But when he spots me, he wants to be with me. So then I’m trying to keep away from him. I don’t want him to recognize me, like at first he doesn’t recognize me, but then he seems to be in pursuit of me. And so I’m trying to stay ahead of him and, in that trying to stay ahead of him, at one point I even jump and things change to color for a moment and I’m on the back of some kind of horse that seems to be able to fly.

And then I get out of the castle, because he’s grabbed me at one point, but I’ve gotten away. He did touch me though. I would try to disguise myself so he wouldn’t recognize it was me, but now I’m running.

I go out of the castle at night, and I’ve gone down because the castle seems like it’s more up, and I’ve come across this unusual building, and I go into this building again and I go up in the building. And this building is almost like a building where they manufacture parts of people, like there might be little babies, or there might just be a foot, or there might be just a sock, not a main piece of clothing. It wasn’t even a person.

On different levels it’s like they’ve kind of taken things apart as opposed to putting them together and, of course, you have the sense that if they catch you they’d do the same, they just take you apart, or use parts of you.

Then I’m kind of running from the people in the building, and they think they’ve got me at one point, but I seem to slide down and go right through this glass window into a room and through another glass window – without harming myself – and I get out of the building.

But somewhere in this whole process I was touched by something, and it feels like there’s something changing in me now where I’m turning into gold, but it’s a process that takes a certain amount of time. There’s even some little being near me that talks to me a little bit about what’s happening, but over this process I’m turning into gold. The only thing that I notice about this process is that it seems to make me want to go back and be with the prince more.

John: What this dream is about is, it is using both expansive and contractive qualities, because those are the only two things going on, and it’s using those as an energy that vies more or less for your consciousness, which means it’s vying for your heart.

You use the theme that repeats over and over again of it being kind of a physical thing like one of the four doors, they create a delusional quality. You use the one over and over again because it seems to be the one that, as you overcome, you get close to the understanding of a wholeness, I mean the four doors are like the prostitute archetype, the drunkard, the [thief], and the gambler.

Now each of those… whatever and however you experience those four doors, which are like archetypal energies in one’s nature, when they have a hold of you they’re like that, and they dictate images and mannerisms in which your attention has to take and filter its flow in life. And the difference that you’re doing now however, is you’re taking that energy… I don’t know why they call it the prostitute energy because I mean they all have this, in a sense, they all take and create their delusions except maybe this one works within the realm of the quality of the vibration that’s in the magnetic connectivity realm. They all connect you to some illusion though, too, so it’s hard to say it that way too but the thing that you’re doing different is you’re looking at it in terms of both an expanse and a contraction. You’re looking at the polarities.

And so you’re realizing that when something is trying to get a hold of you, and that’s an illusion that you have when you’re high up, in other words, when you raise your energy and you have the sense of a type of freedom, like higher up in the castle or something, have a sense of freedom. In that sense of freedom your imagination, the way your thoughts will run in terms of fantasy and whatnot, is you seek to curry favor of something. In other words, you’ll manufacture a prince in shining armor attraction, or something like that, that draws your attention when you’re feeling a lot of lightness and energy.

And then when you get into the density of things, and so that effect is actually a dense effect,that pulls you from a proper flying and lightness when you’re in the castle up above. And then when you go down below and something is trying to grab you, it’s hitting you in a dense way. And to the degree to which you free yourself from that it’s like busting it into a million pieces. It’s chopping things up. That’s like them trying to expand. In other words, no one likes feeling contracted, so they fight to try to get out of the contraction, and yet you’re caught in the vibe of something that’s contracting, so when you expand then things get broken into a whole bunch of pieces.

So you’re dealing with the expansive and the contractive. The object of where you’re going with this thrashing that comes to an end in terms of doing that, is you learn that neither direction, neither one of those things that you put into the heart, into yourself, will take you anywhere, and you will eventually make a shift. And the shift is that instead of putting the energetic into a quality of an imaginative heart-like nature, where you have to struggle to get away from something to trying to get a hold of you, and then you’re fighting to free yourself of that contraction and, you know, that busts you into a million pieces again.

The significant thing about this is that what you’re doing is tearing away an attention that could have been, and is meant to be, the life force on the soul. And when the life force is on the soul then you so to speak lose yourself, and then you have a presence in all things. When the life force is on the soul you actually are connected in a way that you take something with you, as the expression goes.

Well what do you take with you? In other words, you’re connected. You’ve brought the levels together, so to speak. You’ve gotten rid of the other illusion delusion that keeps you from recognizing your greater wholeness, and that you’re intertwined with everything. And when you have it on the levels of the soul, then you actually do not die. You have a means of connecting. You connect to the vibrational parts of yourself, whether you’re beyond time and space. Whether you’re in this body or not, you can connect that way to everything.

That’s an amazing kind of aliveness to have. Now it’s generally spoken of from the standpoint that there are the spiritual elders and there’s this, that, and the other that you can be like a foot soldier to that, and you can catch up to that, and you can hear something and know something. No, you can do all of this yourself, and that’s what you’re meant to do when you take and put the life force energy into the soul, as opposed to into the heart.

Into the heart you’re going to have the vying around, and you’re going to have those four primary archetypal, or four door, natures to have to contend with going back and forth between one and the other. And, of course, in most instances each person has one usually that is louder and more predominant that is still a byproduct of having the delusional trance, the illusional trance yet, having the identification then, or duality, as the consequence of that that’s standing in the way.

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You know you’re having a bad day when you have to leave Paris in such a hurry that you can’t properly pack, and you don’t have the right money to get on the train, and that will cause you to miss your plane. Such is the unfolding of this dream, and what it is showing the dreamer is that the more she tries to steer things, or have a personalized interest in the way events unfold, the further and further she gets from where she is trying to go. And that is the way of a spiritual path, in that as long as we hold tight to our fixed ideas of life, the more we slip-slide away from our destiny. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: So, in my second dream, I seem to have traveled somewhere, I even think of as being in Paris, although I have someone like my sister with me at one point, and another point you’re around.

But at first I go to stay at a building, and later in the dream I realize this building is like an apartment building where I’ve stayed in the past, but it’s gone through many different remodels that the people that run it don’t even remember me.

We’ve gotten an apartment just for a certain length of time because I’m not sure how long I need to be there. Then there’s a point at which I realize we’re going to leave and we’ll still have like two weeks rent that we won’t have used up, but we’re just going to have to leave fairly abruptly.

And, before I do that, I go down and I see where the mailboxes are, and I open up the mailboxes even though, in a sense, I’m not really living there. I know how to open up the mailboxes, and there’s a mailbox there that there’s actually a few pieces of mail in it, and it’s like postcards with drawings on them of like paintings that my mother would have really related to from China. And it just gives me a sense of my mother’s energy.

Then I’ve gone out with you, and when we realize we have to be back, and I had grabbed my suitcase, I had gone to a second place and it’s like I had two places in the dream where I stayed for some reason, and I had thrown some stuff in a suitcase. I hadn’t really quite gotten all of it so I’m a little awkward with how I’m carrying things, and we’re out in an area where we have to get back to the central part of Paris. And there’s a train that’s going to be coming.

And we go over and there’s kind of a border or security guard that’s a little tricky. We have to have francs to go up and down this stair area to get in to where the trains are and we don’t have francs, so we’re getting change. And you get through ahead of me, and we get up and we have to walk across a field area, and we go down to where the trains are, but because I don’t have the francs and stuff to go up this one area, you get ahead of me. And I get delayed, so you go ahead and leave.

And some stuff has fallen out of my suitcase and I’m having to stop and put that in. Then I find that I’ve stepped outside the area that the franc covered, so now I’m going to have to go back down the stairway and try to find a franc and get past the guard again. And some people are trying to help me, but we look in my purse and we come up with all kinds of coins, everything but a franc, of course.

And I finally decide: to heck with all this, I’m just going to walk up there where the trains are even if I don’t have the right change or anything. And I walk up and I go across the field, and I’m kind of running to catch a train and the train goes right by. It wasn’t really the right train.

Then I have to wait for the next train, but I realize by this time you will have gone to the airport and I don’t even know whether I can get there in time to catch the plane. Also looked at my luggage and realized there was a second bag I hadn’t packed so I don’t have everything with me and that means I may just, you know, leave it. I’m just aware of it, because something that I didn’t pack was something like an iron, or would’ve been awkward to try to get anything in the one bag I’ve got.

It’s like now I just need to slow down and see if I can get myself on the next train that comes by. That’s when I wake up.

John: So that whole dream is about struggling with things coming into the heart, you know having to sort things out – and that throws you around. And whether that triggers emotion, or anxiety, or panic, or just what all it triggers, it’s all in relationship to trying to contend with things in terms of how it is that your heart is having to sort out.

And you almost get it right, right off the bat, in the very beginning, because you go to a foreign place, like Paris, and you’re almost comfortable there. But then you realize, no, you’ve got to do this or you’ve got to do that, and then that whole thing starts, and once it starts the whole dream just keeps on going with little things picking at you, and picking at you, and picking at you.

And so as you were describing this, I started to suddenly realize why it is that certain people can have this greater natural knowingness that others don’t have, and that’s because, even in reading, when you’re reading you’re trying to take something and you’re trying to bring it inside of yourself and digest and process what that is saying to you, what that means to you, how that affects you, in some sort of inner way.

But when you were describing that, because you kept continually pulling something to yourself and then sorting it out that way, I kept thinking, there’s the opposite effect that goes into the depth of everything that exists – and there’s already the natural knowingness, and you just don’t necessarily know it. And you change this, and you have to adjust to that, all in relationship to how something is feeling inside, or sorting itself, or shifting around in terms of impacts that are hitting you inside.

If you were able to take an energetic overallness that extends out, and not have to deal with any of the personal mannerisms and motifs of having to sort something out. Because the sorting out that you’re trying to do is in relationship to your perceptions, and the way your mind is, and you never can ever know the big picture. And to know the big picture you have to let go of these mannerisms, this inner kind of doingness where you’re bringing something in to look at, and you just have to exude.

And you exude in a way that’s in the overall, which means that you don’t hold a quality of something that’s distinguished, in some fashion, so that you have to take and constantly sort out in relationship to that, so that the indulgence isn’t such that you’re noodled or lost in the predilections of the heart having to try to sort something out. You don’t sort that way, anymore, and you shift then to the greater overallness, or the soul consciousness of the whole of all of life. And when you do you have the inspiration and the sight of things – and you don’t have things affecting you, then.

This is still like a drill down of the theme of last night that, in a way, requires a person to have to sit with it because they’re inclined, conceptually, to think that they carry a responsibility that has to do with the heart. And this idea is propounded by all kinds of statements, that are even principles, that are misconstrued: like, watch your step, guard your heart, put people into your heart. And those all point to something that keeps you trying to sort something out, keeps you trying to pull something in, as opposed to you being the overallness intertwined with everything. And to really truly catch up with that intertwining, you have to disappear.

You don’t get caught trying to deal with everything that vies for the heart, sorting that out. Instead, you recognize the higher self, the higher quality of your self, intertwined in everything.

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